Abstract

Joe Wenderoth’s Letters to Wendy’s (2000) brings fast food under poetry’s interrogational gaze, revealing a strange world of idealized hamburgers and erotically infused Frosties. Through a close reading of four poems and aided by Herbert Marcuse’s One-Dimensional Man (1964) I explore the implications of a mechanized repetition and idealized imagery which asserts itself at every stage in Western capitalism, from production to consumption. Poetry, in its engagement with the ambiguities of language, has the ability to question this process not by denying it, but rather by assuming the claims which arise out of this method of production and displaying their incongruities from within. Therefore poetic works like Letters to Wendy’s serve as important critical texts where no critique currently exists.